Wednesday January 4, 2017

OK Jaanu (Music review), Hindi – A R Rahman, Badshah & Tanishk Bagchi

Posted by Karthik

Kaara fankaara‘s promising start devolves into droning nama nama nei. Enna sonna is adequately pleasant; more Arko than Rahman. Jaanu is jubilantly uptempo and instantly catchy. Saajan aayo re is a pleasant surprise, Jonita’s vocal dexterity and Darbari Kanada raag flowing infinitely better in Hindi. Jee lein is Yuva leftover, while Ameen’s Maula wa salim is aptly pious. Humma humma‘s meh-creation* to replace O Kadhal Kanmani’s best, Parandhu sella vaa, is utterly pointless. The soundtrack’s best is Malargal kaettaen-equivalent, Sunn bhavara! Set to raag Bihag, Shashaa Tirupati aces the lush semi-classical melody, beautifully supported by the tabla. Jaanu trumps Kanmani.

Keywords: OK Jaanu, O Kadhal Kanmani (music review), OK Kanmani, A R Rahman, Badshah, Tanishk Bagchi

*By Badshah and Tanishk Bagchi

Listen to the songs on Saavn:
okj

Comments

comments

  • Jagan Kumaravelu

    I believe Sunn Bhavara is not the same tune as Malargal Kaetten, am I right? There was lot of news that Malargal Kaetten original tune will be removed for the Hindi version and replaced by a fresh tune.

    • rnjbond

      Correct, it’s a replacement for it and it’s fantastic.

    • milliblog

      Yes, Malargal kaettaen is too rooted in Tamil ethos to be used as-is in Hindi. I had thought even Naane varugiren would be changed. But that surprised me by being so much better in Hindi, than in Tamil. Of course, Sunn bhavara is the pick of the album for me.

      • Jagan Kumaravelu

        Actually I wanted Naane Varugiren to be retained in Hindi and wanted to see how it would be treated, because its Raag Darbari Kannada will fit any Indian film beautifully with its very sensual nature. ARR and Gulzar have done a great job with Saajan Aayo Re (Naane Varugiren). Nakash Aziz cannot (and could not!) match up to Satyaprakash’s carnatic histronics. Maybe Karthik or Sonu Nigam would have been better fit. But Jonita was as good as Shashaa Tirupati (which was a huge surprise to me, as I thought Shashaa was out of this world in Naane).

  • Jagan Kumaravelu

    I too wish that they had a proper replacement for Parandhu Sella Vaa and had Humma Humma as an extra special song to satisfy the “tribute” thoughts they had. Maybe they could have used Humma Humma in place of the second Mental Manadhil that they had in Tamil.

  • rnjbond

    Considering how controversial your review of O Kadhal Kanmani was, brave of you to call the Hindi version better! Not that I disagree, Sunn Bhavara is really fantastic.

    (PS, I love that you used the phrase “aptly pious” for Maula Wa Salim in both reviews).

    • milliblog

      I did consider using the exact same template of my Tamil review with minor changes, just as a play of words, in comparison. But the Hindi version surprised me by being much better (barring Humma).

  • Arjun Pv

    Apt review according to ur previous ok kanmani review … Humma song was not at all apt here .. Sunn Bhavara and Enna Sona r excellent .. Kaara Fankara was not as gud as tamil version … But A.R. does give some new music rather than original …

  • wootshire

    Everyone has opinions, I get that, but your volte-face regarding “Naane Varugiren” and “Saajan Aayo Re” to me is utterly perplexing! How can one be “look ma I’m so complex” and the other “flow infinitely better” when the only change is the lyrics? Surely any complexity in the prior came from the song’s structure rather than the lyrics?

    • milliblog

      Good question. Given that I’m not musically trained (at all), I cannot even begin to answer that with technical prowess. At best I can say that I found the Hindi lyrics suiting the tune’s flow far better than they did in Tamil. It’s the same kind of reaction, for instance, we had to Mehboob’s lines for Rahman’s early Tamil-to-Hindi conversions. That is to say that lyrics (in another language, in particular, in this case) can alter the way the song flows.

      To make it even more pointed, an example like the way ‘Naane’ extended to fit its sound within the tune vs. ‘Saajan’ extended to fit that sound can make a difference… at least to my brain. It could also be previously associated comfort with that word (say, ‘Saajan’) having been extended in similar/different ways (vs. ‘Naane’ not being heard/recalled by me being extended/dragged that way).

      • Kiran Kumar Bandiatmakur

        I often see you not reviewing an Album if it was remade/dubbed at the same time in another language especially from Tamil to Telugu. For Ex: OKK remade in telugu as OK Bangaram and so was AYM and Robot. Is there a reason for that because I am sure you would find it little different because of the flow of lyrics as you found it here or some other little nuances.

        • milliblog

          Usually, my first consideration is at least some changes in tunes. I wasn’t planning to review either Irudhi Suttru or Saala Kadoos, but after hearing both, found enough changes or nuances added between both, so ended up writing about both. With most other albums, such changes are rare and that doesn’t interest me enough to write.

  • Fahid K A

    4 Awesome songs man – ‘Sun Bhavra’, ‘Sajan Ayore’ , ‘Jeele Zara’ & ‘Enna Sona’… Seems ‘Diminishing Marginal Utility’ set for big in Hindi version too after taking all spellbound with Tamil version!!!! 🙂

  • Aadhy

    Honestly for me, Ok Kanmani pips Ok Jaanu by a small margin. Going by tracks, I neither like Naane Varugiren nor Sajan Ayore for the same reason you’d mentioned for Nane varugiren. But Satyaprakash kinda saved the song for me. Nakash Aziz (fab singer otherwise) doesn’t match up to Satya’s finesse in notes.

    OKK 1 : OKJ 0

    Kaara fankaara’s rap verses are equally nonsensical as its Tamil counterpart, pulling the song down. But the vocal improvisations in the hindi version at the end makes the hindi version somewhat enjoyable.

    OKK 1 : OKJ 1

    Jee lein, Maula wa salim and title track don’t seem to differ so much from Tamil versions.

    OKK 1 : OkJ 1

    Karthik’s silky nonchalance in Aye Sinamika is leagues ahead of some Amaal Malik-ish composition (Enna Sona).

    OKK 2 : OKJ 1

    Parandhu sella va was the best song of the album for me as well, replaced by this abomination of a tribute.

    OKK 25 : OKJ 1

    Err, I realise it’s not a small margin anymore, but that said, I must confess I’m not a big fan of Ok kanmani either. In fact, haven’t liked any of the recent Rahman albums (AYM included). I feel he has come to a stage where all his songs sound like some rehash of his earlier tunes (atleast melodywise). And no, Sid sriram’s R&B inflections can’t bring any ‘freshness’ to his tunes, until he stops making mincemeat out of lyrics. The last song I liked from Rahman was Wat Wat from Tamasha. Such an unpredictable and wacky composition with a strong folksy melody at the base, typical Rahman.

    Being a hardcore Rahmaniac, find it hard to say this, but he’s slowly losing relevance in the midst of some outstanding work from Trivedi, Clinton, Pritam, Santhosh, Sean, Anirudh, Leon etc.

  • Karthik

    Hello, i am not trained in any kind of music but i am a music enthusiast! These may be silly observations but here they go, doesn’t sunn bhavra sound a bit like ‘Aane Do’ sung by Rekha Bharadwaj from Kuch Meetha Ho jaaye? Maybe it is the musical arrangement & Shashaa’s voice being similar to Rekha’s or maybe they use the same raga or something.
    Also Saajan Aayo re reminds me of Barso Re from Guru. Is there any connection? Especiaaly the ‘Saajan aayo re’ and the part that immediately follows.

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